人存在的短詩
存在主義(existentialism)者認為人類的存在(being)是一種特殊的狀況。人不同於其他事物，本質不是“為了去做某事”的用具。人的存在先於本質，先出生而後才開始找尋存在的意義，也不會因為毫無用途而被拋棄或失去生存價值。
人生而自由，不附從於國家、民族、社會環境等總體性的觀念之下也可存在。也因此，人反而能回歸到最極簡的“人”“現在”在“此”，即人物、時間與場域，並由此逐步建構自身的存在意義。
藉由拍攝「痕跡」，尋找人性的情感與意義。其拍攝的皮革、牆面等物件，大多因人長期使用而老舊磨損、佈滿人與物的互動記憶。然而正因如此，反而常是遭到汰舊換新的事物，不久就可能被精心製造的嶄新商品取代，成為消費時代的一環。與之相應，人性也就因這消費習性而漸趨減弱，屈就在總體的大環境之下。
在這物性文明為主的時代中，若從唯物的物件著想，反而從中找到了超溢於物的人性。
近距拍攝手法使物件脫離整體，從而展現個體內在特色。痕跡所形成的抽象畫面，建構出人意志的自由，並讓觀者意識到物件背後隱含的人、事件與記憶與情感，亦即“人”“現在”在“此”的存在主義式書寫。而抽象畫意在此也象徵著人類自我意識的追求，是聲聲溫情的呼喚，物性文明裡的人性光亮。
或許正如哲學家海德格（Martin Heidegger）對藝術的評論，小山俊孝的攝影是關乎人的辯證與探索，是人存在歷程的共時性見證，具體而微地表達海德格哲學論證的存在本質—非隱蔽性的呈現（aletheia），即古希臘哲學中的真理。
攝影是尋求生而為人的內觀風景。如書寫一首短詩，站起身，椅子還留著極薄的餘溫。而那正是我們，是個人。
文 小山俊孝/陳泓鑫
A Short Poem of Human Existence
Existentialism believes that human being is a unique situation. Unlike other things, the essence of men is not an instrument “for doing something.” Men’s existence comes before essence; only after birth do they start searching for the meaning of life, and they will not be abandoned or lose the value of existence if they were useless.
Men are born free and can exist without being attached to holistic concepts like country, nation, or social environment. This is also why men can return to the minimal state of “men” are “here” “now”—that is, who, when, and where, and through this state they gradually construct the meaning of own existence.
Searching for emotions and meaning of humanity through photographing “traces.” The objects captured, such as leather and wall, have all been worn out due to long-term use, and are full of memories of men’s interaction with them. That is also why these objects are often replaced quickly by a newly manufactured product, becoming a part of the age of consumerism. Correspondingly, humanity has gradually weakened due to this consumption habit, surrendering to the general environment.
In this age of material civilization, if we adopt the perspective of material objects, we will instead find humanity that transcends the objects.
The method of shooting close-ups enables objects to break free from the whole, displaying the unique inner features of an individual. The abstract images formed by the traces construct the freedom of men’s will, while also allowing viewers to become aware of the hidden people, events, memories, and emotions, behind these objects—that is, the existentialist writing of “men” are “here” “now.” The abstract artistic concept also symbolizes men’s pursuit of self-consciousness, which is the warm calling and light of humanity in material civilization.
Perhaps just like philosopher Martin Heidegger’s critique on art, Koyama Toshitaka’s photography is about men’s dialectics and exploration, a synchronized testimony of men’s existential journey, concretely expressing the essence of existence in Heidegger’s philosophical argument in detail—aletheia, which is the truth in ancient Greek philosophy.
Photography is the search for the introspective landscape of being men. Just like writing a short poem; when you stand up, a trace of residual heat remains on the chair, and that is us—that is a man.
Text Koyama Toshitaka/Chen Hong-Hsin